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x O AUTORIMA

JOLANTA JANIČAK, dramaturškinja i dramska spisateljica, diplomirala je psihologiju na Jagelonskom univerzitetu, Od 2007, godine ( Drugo übistvo psa Mareka Hlaska), radi kao dramaturskinja sa Viktorom Rubinom, s kojim je realizovala Elementarne čestlce po delu Mišela Uelbeka, kao i Lutku Boleslava Prusa, nagradenu na Festivalu pozorišne konfrontacije u mestu Opole, 2009. godine. Dobitnica je nagrade Paszport Polityki. 2014. godine.

JOANA KRAKOVSKA je pozorišna istoričarka, esejistkinja i urednica. Radi na Institutu za umetnost Poljske akademije nauka, kao i u časopisu Dijalog. Koautorka je knjiga Soc i seks: Pozorišne I ne-pozorišne dijagnoze ; Soc, seks I istorija (2014); autorka monografije Mikofajska. Pozorište i Narodna republika Poljska (2011), nominovane za literarne nagrade Nike, Gryfia, kao i istoričarsku nagradu „Kazimierz Moczarski“.

MAGDALENA MOŠIJEVIĆ je diplomirala na Filozofskom fakultetu Jagelonskog univerziteta. kao i na Katedri za film Filmske škole u Lođu. Radila je kao novinarka. Se-

lektorka je raznih programa i festivala koji se održavaju u Varšavi, Autorka je knjige kratkih priča Jevrejska fraza i komada Zemlja snova. Režirala je dokumentarne filmove Još uvek verujem i Postignuti dogovoh.

VIKTOR RUBIN, reditelj, diplomirao je na Katedri za dramu i režiju Jagelonskog univerziteta u Krakovu, Studirao je i filozofiju na Jagelonskom univezitetu. Debitovao je 2006. godine, poljskom premijerom predstave Mojo Mickybo autora 0. Mekafertija. Od tada, realizovao je skoro dvadeset produkcija u poljskim pozorištima. Dobitnik je nagrade Paszport Polityki, 2014. godine.

X IZVODIIZ KRITIKA

„Recepcija Kantora u Njujorku samo je jedna od tema predstave Kantor Downtown. Položaj glumca takođe nije jedina tema ove odlične, pametno napravljene predstave, Putern vrcavih dijaloga prikazanih na monitorima, mi učimo o sumraku pozorišne avangarde na Brodveju koja je, pre izvesnog vremena, ustupila mesto biznisu. Teško je suditi da li je ovo stvarna dijagnoza, Hi samo vapaj starih ljudi za najlepšim od svih svetova - svetom mladosti." Jarostaw Reszka, Express Bydgoski

X THE AUTHORS

JOLANTA JANiCZAK is a graduate of Psychology at the Jagiellonian University, a dramatist and a playwright. Since 2007 (The Second Killing of a Dog by Marek Hlasko), she has worked as a playwright with Wiktor Rubin, with whom she also achieved Elementary Particles by Michel Houellebecq (2008) and The Doll by Boleslaw Prus, awarded in Opole Theatre Confrontations in 2009. In 2014 she was awarded with Paszport Polityki.

JOANNA KRAKOWSKA is a theater historian, essayist and editor. She works at The Institute of Art of the Polish Academy of Sciences and in Dialogue magazine. Co-author of the books Soc and Sex. Theatrical and Non-Theatrical Diagnosis (2009) and Soc, Sex and History (2014); author of Mikolajska. Theatre and the Polish People's Republic (2011) monograph, nominated for literary awards Nike, Gryfia and Kazimierz Moczarski Historical Award.

MAGDALENA MOSIEWICZ has graduated from the Faculty of Philosophy of the Jagiellonian University and the Department of Cinematography at the Film School in Lodz,

She worked as a journalist. Curator of Warsaw programs and festivals. The author of short stories: The Hebrew Phrase and play Dreamland. As a director she has made documentaries / Still Believe and The Arrangements That Have Been Established.

WIKTOR RUBIN, the director, is a graduate of Sociology at the Jagiellonian University and the Department of Drama Directing of Krakow Theatre School; he also studied Philosophy at Jagiellonian University. Fie made his debut in 2006 with Polish premiere Mojo Mickybo by 0. McCafferty. Since that time, he has prepared nearly 20 productions in theaters in Poland. In 2014, he was awarded with Paszport Polityki.

x FROM THE REVIEWS

"Kantor Downtown only partially talks about the reception of Kantor in New York. Also, the topic of the actor’s state does not use up the subject of this wise and well-produced performance. Thanks to the scintillating dialogues of characters displayed on monitors, we learn about the twilight of the theatrical avant-garde on Broadway, which finally gave way to business some years ago.